Review of “Aeon Flux”
Positioning itself somewhere between Blade Runner and The Matrix, and falling well short of both, Aeon Flux is another comic-to-screen sci-fi story. Set in the 25th century, most of the Earth’s population has been wiped out by a virus. The survivors live in a futuristic city-state ruled by a family of scientists, the leader of whom goes by the unlikely name of Chairman Trevor. But whilst life appears idyllic, all is neither as it seems, nor well in this sanitized world where a huge wall keeps nature at bay. Strange discontents and unexplained disappearances have given rise to a group of terrorists, of whom Aeon Flux – played by Charlize Theron – is one. Armed with a desire for revenge, and a seemingly infinite number of hi-tech gadgets that she manages to hide somewhere in her skin tight body suit, Aeon sets out to topple the Chairman, only to discover the real truths about the society that have lain hidden for 400 years.
Director Karyn Kasuma, acclaimed for her first feature Girlfight, brings a beautiful visual dynamic to the story in a glossy architectural way, but is unable to protect us from some dreadfully pretentious scriptwriting, which often falls into the deep-and-meaningless category. After a slow and predictable start, the story gets really interesting as Aeon struggles with what do about the knowledge she has discovered about the Chairman, and with her own feelings towards him. But it then dies with a whimper and a bang at the end, leaving a minor wreckage of loose ends, improbable explanations, and see-through symbolism.
Charlize Theron is in a different league to the rest of the cast, and mixes cat and reptile to great effect in a wonderfully physical performance as the agile and beautiful killer. Marton Csokas is thoughtful as the Chairman, and Pete Postlethwaite puts in a strangely stoical performance as the enigmatic Keeper, dressed in a truly appalling worm outfit.
At the end of the day Aeon Flux is no more than a mildly interesting excursion into the future, and disappoints because of the sense that, were it not so underwritten, it could have given us some important insights into the nature of memory, life and our genetic heritage. It falls somewhere between its cult roots and its mainstream intentions, without finding its footing in either.
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